Word: cheeks
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Dates: during 1970-1979
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...Last Embrace is not a total loss. It is just that the movie is not all that it might have been or promised to be. The title implies a certain passionate intensity of approach, but all the film really manages is a diffident hug, a peck on the cheek...
...errors, after all, enabled the primeval strand of DNA to diversify into the vast spectrum of life. Humans have mimed this sloppy but productive process; "the capacity to leap across mountains of information to land lightly on the wrong side represents the highest of human endowments." With tongue in cheek, Thomas hails the arrival of the computer age; he looks forward to the bigger mistakes that the programming of bigger computers will make...
Some of those musical riffs can be isolated as gestures, and Wylie teaches them all, many from his 1977 book Beaux Gestes. Pointing to the eye means "You can't fool me," and flicking the fingers across the cheek says "How dull," because the words for beard and razor (barbe, rasoir) have meant "boring" for more than a century. Pushing the nose upward means "It's so easy I could do it with my fingers up my nose." Drawing the tips of the fingers together and placing them in the palm of the other hand means "He's so lazy...
...woman approaches me at The Rat. She is small and comely, her thin black dress, cut in strips that hang from her waist, revealing in a flash. Saucy red lipstick and a flower painted on her cheek, she is a smiler, coming right up to me and asking if she can illustrate my entire body. She is a body illustrator. Her name is Cretin Hop. At home she gives me cleavage, shows me a giant watercolor illustration of Patti Smith--slightly smudged by sweat--marked painstakingly beneath the knap of a breast...
...infuses every shot, heightened with each passing reel. It's something Dino De Laurentiis' repulsive, self-conscious, exploitive remake never touches. And it's as good now, because today so much of it--Fay Wray's hysteria, the chases, Max Steiner's delightful but overdone score--seems tongue-in-cheek. And we got to suspend our disbelief. Really suspend it. Until we're yanked in. "'Twas Beauty killed the Beast," says Carl Denham (Robert Armstrong) at the end of the movie, and the purity of this epitaph is convincing. King Kong is distillation of mythic adventures, and it helped Hollywood...